Less evident, but no less exciting and innovative, is The Spirit of the Beehive’s sound design. Spanish films of the period generally used postdubbing for dialogue. The many child heroes of popular pictures were voiced by adult women shrilly impersonating infants. It is difficult to imagine now the shock felt by audiences on hearing real children’s voices, recorded live on location. Indeed, some complained that the atmospheric scenes where the children talk in whispers were inaudible.
Elsewhere, Erice uses sound to cite the horror genre. As the children whisper about spirits (a candle flickers perilously between them), ominous clumping noises are heard offscreen (we later realize that it is just the father pacing the bare boards in an adjoining room). The original soundtrack, by acclaimed classical composer Luis de Pablo, combines uncanny melodies (including a haunting flute motif) with more familiar tunes taken from traditional children’s songs (one is called “Let’s Tell Lies”). In the final sequence, Ana looks straight into the camera as we hear her defiant invocation of the mysterious spirit: “Soy Ana” (better translated as “It’s me, Ana” than as “I am Ana”). Sound and image are perfectly fused.
After The Shanghai Gesture, a long-awaited feature project, fell through in the late 1990s, Erice shot a short in luscious black and white for the portmanteau movie Ten Minutes Older: The Trumpet (2002). In his segment, called “Timeline,” a baby is born in a village, once more in 1940, only to die unheeded as the villagers go about their everyday life. In Erice’s own words, “Blood blooms across the baby’s clothes like an endless rose.” The intimate connection between life and death in childhood, the great theme of The Spirit of the Beehive, could not be expressed more lyrically and tragically than here.
